德国驻上海总领事馆文化教育处
由比利安娜策划的“惯例下的狂欢”借鉴了第五届卡塞尔文献展的“艺术家博物馆”板块，六位受邀艺术家的作品将在歌德学院的办公空间以群展方式呈现，每一位又会在公共展厅轮番呈现个人项目，整个项目包括特别单元与讨论等活动将会持续半年时间。11月轮到的是胡昀。主展厅地面上有一件由玻璃覆盖的嵌入式装置“随身物品”，它参考了柏林用于纪念损毁文物的纪念碑，模拟了1905年建立了中国首家私人博物馆的张謇（1853-1926）的墓室：礼帽、眼镜与折扇。展览的另一部分中，艺术家以现成物及文献、照片呈现了一位1926年出生并健在的上海人漫长的一生。他的旧照片、搜集的时事杂志、读私塾时接受的理念都是展示内容。他经历的也是许多同辈人所经历的，因此照片均以背面示人。一个活得有创造力，并有能力将其物化呈现的人去世，马上有其他人来到世上。现在他也老了，世界还在变，地铁上所有人低头盯着智能手机，擦身而过的是用功放设备假唱乞讨的专业团队。
两个展览部分连接处的过道尽头有一架幻灯机投放着艺术家本人的照片，尽管不太被人注意，还是会自然投射到每个迎面走近的参观者身上。这件名为“无题”的装置意为“我一直都在那里欢迎你们，但你们却注意不到我”。实际上也显示了一种身份焦虑，因为他意识到尽管自己努力地调查和追寻，但似乎跟那些往事没有什么关系，就像人们觉得自己的抉择和工作是有意义的，但这种感觉竟突然也会消失。他借此提出了展览想要说的，即承认个人与环境交互影响的事实，进而反思现状，对于现有展览体制进行思考。
大家都厌烦了诸如“可能性”、“浅析”这样不太负责的词语，像写错的支票，出手阔绰却无法兑现。好在艺术家一贯拥有务实的态度，大家都埋怨缺乏批评环境、缺乏媒体，他就真的自发与朋友一起做起电子期刊《PDF》。这次他也不光抛出问题，以展览本身给出了解决线索，就是说只有了解了过去才能了解现在，甚至设想未来。这是一种从发生学角度来思考的方式，全因个体和他自己全部的文化体验，不只是独自生活在当下，人需要与外部世界连接，与过去连接，才能获得一种生存实感。就像从昏迷状态复苏或科幻小说里进行时空穿梭后的人会立即向周遭确认“这是哪儿？现在是什么时间？发生了什么？”本展有一种野心勃勃的劲头，想要尽力弄清现状，仿佛解救某种会令人被迫失掉机会的灰色状态。想着，只要理清楚，或许就能发觉解惑之道。（这恐怕也是大部分现代人共有的想法） 。 卢婧
English Version:
Curated by Biljana Ciric, the series “Alternatives to Ritual” takes the idea of artists’ museums from Documenta 5 as its departure point. Six artists were invited to show their works throughout the Goethe-Institut offices as a group exhibition. Each artist also takes turns exhibiting a solo project in the public Open Space. Additionally, special events and discussions occur all throughout each exhibition’s six-month duration. For November, it was Hu Yun’s turn.
Embedded into the floor of Open Space are contents of Hu Yun’s installation of “personal belongings”—a formal hat, eyeglasses, and a folding fan. Using Berlin’s monument to destroyed artifacts as a reference, the glass-covered underground space serves as a simulated burial chamber for Zhang Jian (1853-1926), founder of China’s first private museum. In another part of the gallery, Hu uses found objects, documents, and photographs to illustrate the very long life of a man born in Shanghai in 1926 who continues to live in the city. There are his old photographs, newsmagazines he has collected over the years, the ideas he had learned at sishu private school. His experiences are typical of the time and similar to those of many of his contemporaries. In the photographs, we always see him from the back. When a creative and capable person passes away, someone else immediately arrives in the world. Now this man, too, has grown old, and the world keeps down at their smart phones, walking by a professional act lip-synching to pre-recorded songs who pretend to be beggars.
In the passageway that connects the two sections of the exhibition, a slide projector displays photographs of Hu Yun himself. Although most people do not notice the projector, the projections are nevertheless cast onto each visitor who walks past. The meaning of this installation, Untitled, is “I am always there to welcome you, even though you don’t notice me.” Yet it also reveals an existential anxiety. Hu realizes that despite his efforts to examine and research, his actions seem to have no connection with those events from the past. It is just as people may feel that their choices and work have significance, but this feeling can
suddenly disappear. Here Hu acknowledges the fact that individuals and environments mutually influence each other. He is reflecting on and rethinking about exhibitions in the current art system.
Almost everybody has tired of irresponsible terms such as “possibility” and “brief analysis.” Like bad checks, they promise much but fulfill nothing. Fortunately, Hu has always had a practical attitude. When people complained about lack of a critical environment and media, he actually rounded up a few friends and started the digital magazine PDF. In this exhibition, he is not only asking question, but using the exhibition itself to give clues for finding a solution, which is to say that it is only through understanding the past can we understand the present, and only then imagine the future. This way of thinking comes from ontogeny, to study a unity and its complete cultural experience, not just its life in the present. People need to connect to the world outside of their selves and to the past; only then can they experience a true sense of existence. These are the same questions that someone who wakes up from a coma, or a character who has traveled through space in a science fiction story, would ask: Where am I? What time is it? What happened?
This exhibition seems fueled by a determined ambition to understand the present, to dissipate a grayness that would force people to lose all opportunities for a future. The thinking goes: If I can reason it out clearly, then perhaps I will find the path to lifting my doubts. (And isn’t this idea shared by most of the artist’s contemporaries?) Lu Jing (Translated by JiaJing Liu)
转载自《艺术界》杂志18期/P200-201 www.leapleapleap.com
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